This edition of Artworld Roundtable appears in collaboration with Chris Richards, the pop music critic for the Washington Post. Over the next several weeks, we’ll present a series of roundtable discussions based on Richards’ “five hardest questions in pop music”: “cultural appropriation, problematic lyricism, selling out, the ethics of posthumous listening, and … separating the art from the artist.” AFB has rounded up several thinkers working in these areas to see what they have to say about each question. Richards has provided AFB with key examples to draw out the problems and complexities of each debate. First was cultural appropriation. Second was how to respect the wishes of dead artists. Today we ask whether it’s still possible for musicians to sell out. What does it mean to sell out? In today’s commercialized, social media, sponsorship-driven world, can musicians still sell out in any meaningful way? Or, in an era where people are … Continue reading →
In this, my third post on the aesthetics of punk rock, I will continue my examination of Jesse Prinz’s idea (as detailed in “The Aesthetics of Punk Rock”) that punk rock (in its various forms) is characterized by three qualities: Irreverence Nihilism Amateurism The topic of this post and the next is amateurism. (See here for the introductory post, and here for the post on nihilism. As already noted in previous posts, I don’t have much to say about irreverence.)
I began this series of posts here, setting up the issues and summarizing Jesse Prinz’s main points in his groundbreaking “The Aesthetics of Punk Rock”. Readers of that post will recall that Prinz identifies three characteristics of punk rock that he thinks are central to the genre: Irreverence Nihilism Amateurism Readers of that post will also recall that I have nothing at this point to say about irreverence (of course, there likely is much to say about the exact sort of irreverence that is at work in punk rock, but I’m not going to do that today). Thus, we’ll move on to the second topic in the list: nihilism.
The following is the first post in a series on punk rock. Click here for entry #2. In a 2014 article in Philosophy Compass titled “The Aesthetics of Punk Rock” Jesse Prinz (who guest-blogged for AFB here!) presents an aesthetic analysis of punk rock aimed at both fostering a deeper understanding of the genre and at teasing out larger lessons for the philosophy of music (and the philosophy of art more generally). His analysis comes in two stages. First, he provides a framework for understanding punk rock music (and the punk subculture within which it is produced and consumed) in terms of three central themes: Irreverance. Nihilism. Amateurism. Prinz then uses this three-part story to draw two larger conclusions: Punk rock involves an explicit rejection of traditional aesthetic norms, illustrating the plasticity of taste (and as a result serious consideration of the genre recommends a rejection of global norms of “goodness” or … Continue reading →
Musician Tesco Vee interviewed by Christy Mag Uidhir Tesco Vee…Drum Major in the Squadron of Doom and sworn enemy of the politically correct…is the creator of Touch & Go Magazine and soon to follow Record label and has been plying the punk rock waters off and on for the last 35 years. He hath resurfaced once again with the first new platter of Meaty originals in almost 2 decades and sat down with Christy for some heartfelt anti-social intercourse.
What follows is a guest post by Christopher Bartel. The standard view of the ontology of musical works in the Western classical tradition holds that musical works are some kind of abstract entity and they are intended to be instantiated in live performances. I take it that this is the typical starting point for the debate. Disagreements arise over the kind of abstract entity that a musical work might be, and over how works are to be individuated. I have some skepticism toward these latter ontological projects (Bartel, 2011). But, I am not thereby opposed to other kinds of ontological projects. Actually, I think some do rather helpfully clarify exactly what is going on in our musical practices.